WINDS: Fantasy Excerpt, 1200 words

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Teresa Edgerton

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OK, so for the first time I am posting something here for critique. I love this scene. In fact, it will probably appear on the cover of the book. However, I am not so sure that I love the way I have written it.

This excerpt is midway through Chapter Four, of Book Three, of a trilogy -- with the first two books already in print. So character development isn't an issue here, because they should be developed elsewhere by now or I'm in big trouble. Also, the names are absolutely set in stone, and changing the overall style is not exactly an option either.

So, um, I'm not exactly sure what I am asking for here. Just everyone go ahead and fulfill my unspoken wish, satisfy my as yet imperfectly realized desire. Is that too much to ask?

Alternatively, you can take your revenge for any critiques I've done on your work.


The lessons in magic continued. Under Camhóinhann’s tutelage, images of dark and light flooded Winloki’s mind. Under his guidance, her perceptions were wonderfully enlarged; she began to detect geometries of relationship and distance wherever she looked. Familiar shapes stood out in bright relief. The world became alive with meaning.

On one memorable evening he taught her how two minds linked (if they possessed sufficient power between them) might range freely over great distances.

She found herself rushing through the air, the dusky landscape a dizzying panorama below. Cities passed in the blink of an eye, vast stretches of field and marsh and woodland. For a time they followed the course of a dull silver river unreeling like a skein of silk below them. She had already passed so far beyond any familiar landmarks it was impossible to guess the direction of their flight, whether they headed west, east, north, or south. A range of hills came hurtling toward them, and a line of ice-colored peaks glittering in the last light of sunset. Even knowing herself bodiless, she flinched instinctively at the expected collison.

Instead, they ascended, spiralling upward. Cliffs, wooded heights, ice-hung precipices flashed past and then were gone. All around her she scented pine and snow; then came a searing cold that had no scent at all. Abruptly they stopped, and Winloki scarcely had time to take note of her surroundings before Camhóinhann materialized, and she along with him.

They stood at the edge of a fearful precipice, looking down on a range of mountains far below: at spires, ridges, vertical slopes, sea-green glaciers, all tiny with distance. She dared not look behind, or to left or right, for fear there might be another sheer drop.

We stand on the highest peak of the Tarian Duillan: Penaedeir, the father of all mountains. His lips did not move as he spoke, and she realized that his voice was speaking inside her mind, a sensation she had never experienced before. Not even the great eagles fly so high.

The sky overhead had gone from dusky grey to deep purple. Winloki felt as though she might almost reach up and touch the lamps of the stars, or the planets strung out like jewels across the firmament. But the rock beneath her feet had been polished by the elements to a glassy surface like obsidian. Buffeted by a wind that beat around her like mighty wings she dared not move an inch for fear she would slip. I feel as though I might be swept from the mountaintop at any moment.

As so you would, if you were not here with me. We are in the realm of the greater elements, where even magicians and wizards venture at their peril. And this is no ordinary wind: we call it The Wind that Moves the Worlds.

Indeed, it felt to her as though it were blowing from some frozen region far beyond the moon. Yet though she felt chilled, she saw that their breath did not whiten the frigid air. But these aren’t -- they can’t be -- our real bodies?

No, he answered, we left those behind at Quiranöerion. These forms you see are made of more subtle stuff, and can only mimic what our real bodies feel.

But can they be harmed? Even with him beside her, she did not feel quite safe.

They are products of the mind, and through them the mind can be driven to madness or even death. Yet they are hardier than our real bodies, while they last. If we stay too long, they will begin to fade.

And then? Winloki looked at her hand, wondering if it was as solid now as it had been a moment past. In the ghostly light of the stars the snow shone blue; everything appeared insubstantial.

The link with the real body would break. But if you do not trust me to guide you home in time, we can return now.

No, she said. Oh no. You have brought me here to teach me something. I wish to stay and learn.

Yet it took all her courage to say so. The wind seemed to blow right through her, scattering her thoughts. She felt herself impaled by spears of starlight; the elements roared around her as a mighty chaos. What had appeared to be no more than a wisp of cloud overhead let down a blizzard of sleet and snow. Panic clutched at her throat.

Do not resist them, he said. Fire, air, and water are fluid and mutable, therefore capable of being controlled. Draw them into you; only in that way will you begin to understand them.

I dare not, she answered. They are too powerful.

But not more powerful than the magician’s will. Through the drifts of falling snow and sleet, his eyes glowed like stars; the light of his face became almost unbearable.

She yearned to please him, to show herself worthy, that he might not be ashamed of their shared blood. And still she hesitated, afraid that if she did as he told her she might be utterly consumed.

But if she did not do this, she sensed that her education in magic ended here. All her life she had had the courage to resist; until this moment she had believed that was the whole of valor. Now she must learn to be brave in an entirely new way, and find the courage to submit. Let them possess me, she thought, that I might possess them.

And so she yielded herself to the power of the wind, and it came rushing in, blowing through the chambers of her heart, setting her blood on fire. Standing there on the roof of the world, she felt herself in the grip of natural energies too immense to be regulated by the clockwork of time. Ice crystals scoured her. For some immeasurable period of time they obscured her vision so completely, she might have been alone, lost in the whiteness.

Then his voice spoke to her again: Intelligence, energy, knowledge, and will, that is the whole of magic. Who controls these may work wonders.

As the magic quickened within her, a wild happiness leaped into being. Bathed in power, she experienced a primitive delight; the pleasure she felt was not of the mind only, but of every particle of her being. She knew herself, blood and bones, nerves and sinews, as part of a living universe. She felt herself capable of enormous thoughts.

Slowly, the wind abated. The snow no longer flamed; the fire no longer froze her. She turned toward Camhóinhann, and saw that some of his radiance had faded. Yet an aura of glory still clung to him as he reached for her hand. Now it is time to return.

For the briefest moment she felt their pulses as one. And a picture came into her mind unexpectedly: a burning heart that blazed like the sun, imprisoned in an iron cage. She could have wept to see that great captive heart, had she any tears in that place to weep.

But now they were plummeting down, past the cliffs and pine trees, the towers and buttresses of stone. For a moment the hills reeled round and round beneath them, then they went hurtling past fields, cities, and farms, following the thread of the river home.
 
Teresa, I'm sneaking on at work (again!) so as with Vertigo's, I've not read all of it.

I don't think I'd be brave/worthy/stupid enough to critique the whole thing! I mean... it's you!

Saying that...

images of dark and light flooded Winloki’s mind

confused me. Images of dark and light what? (Also, I don't know what 'geometries' means.)

And I had to read:

Even knowing herself bodiless, she flinched instinctively at the expected collison.

a couple of times before I got it. Although that could just be me. I read 'knowing herself' as her knowing what she was like. If that makes sense. Instead of knowing that she didn't have a physical body at the mo.
 
Like Mouse I immediately thought "How should I know? You're the expert here!", but actually I did have a few thoughts. There's a strong feeling of practical teaching and instructing going on, beyond the "sorcerer's apprentice" stereotype. It feels very shamanistic, which I liked. Given the quite abstract nature of a lot of the events, I think the prose is very clear. I'm not sure if the conversations in italics need something more to show when one person stops "speaking" and the other starts, but if so that's probably a formatting and style issue.

This sentence slightly threw me:

On one memorable evening he taught her how two minds linked (if they possessed sufficient power between them) might range freely over great distances.

I read "Linked" as a verb rather than an adjective, which slightly puts the rest of the sentence out of joint. Perhaps something like "that had become linked" would clarify this.

I also wasn't sure you needed "memorable" and "unexpectedly", but these are small matters of taste. Also, are they literally spiralling upwards? I suppose hawks do this on the thermals, but I did initially think of a sort of headlong rush like a rifled bullet.

Overall, whilst giving a strong idea of the process of learning magic, it manages to retain the sense of mystery and awe that wielding it involves. I had a very strong sense of the sort of people who would be involved in this and their background. Great stuff.
 
I hesitate to pass comment on writing so much better than my own, but on first reading, two sections of your extract jarred slightly.
On one memorable evening he taught her how two minds linked (if they possessed sufficient power between them) might range freely over great distances.
I think I want to put a when between minds and linked, but then it jars even more with the if. It's almost as if one sentence isn't large enough to contain all the ideas you want to put across. The problem being, it needs, in my humble opinion, to be contained within a single sentence.

Here's a possible solution:
On one memorable evening he taught her how two minds could, if they possessed sufficient power between them, be linked, and how together they might range freely over great distances.


ice-hung precipices flashed past and then were gone.
My concept of flashed past includes the going. I can see why you might want to keep the and then were gone, but flashed past needs to be replaced by another verb. (Sadly, I cannot quite think of one at the moment. :eek:)



EDIT: (Don't get excited, I still can't think of a suitable verb.) In my alternative suggestion for the earlier passage, I really wanted to use should instead of if, but I felt that this would clash with the could. This in turn could be replaced by might, but that would mean the following might would need replacing with a synonym.
 
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Well, I'm a cooler writer than this, with much less description, so the lyrical, heavily descriptive style itself isn't something with which I'm comfortable, so I don't know that I'll be much help here. I'm probably better looking for any nit-picky things, though I feel a bit of a fraud trying to do so when your expertise is so much greater.

Under Camhóinhann’s tutelage... Under his guidance, her perceptions were wonderfully enlarged - the repetition of "under" felt like a mistake rather than a deliberate echoing, and "wonderfully" seemed a little weak in comparison to the rest of your language.

On one memorable evening - this confused me a little. It suggested she was looking back on the event from a later period, but there's nothing in the rest of the scene to correspond with this.

he taught her how two minds linked (if they possessed sufficient power between them) might range freely over great distances. - the parenthesis weakens the line in my view, making it sound legalistic. I don't think it's necessary to have the caveat, is it? And the "linked" appears at first read to be the main verb so getting to "range" caused me to stop and have to re-read. I'd suggest "linked minds".

Cities passed in the blink of an eye, vast stretches of field and marsh and woodland. - if it was something like "vast stretches of roads and houses and buildings" then I think the structure of the sentence would be fine, but as the cities are clearly different from the countryside you perhaps need a verb at the end to balance the whole thing.

She had already passed so far beyond any familiar landmarks it was impossible - the "it was" jarred a little, I think I'd prefer something like "she found it".

A range of hills came hurtling toward them, and a line of ice-colored peaks glittering in the last light of sunset. - I don't think the "and" is powerful enough to link the two clauses if you want to keep "glittering" instead of "glittered". I'm assuming by the use of the participle that you want to say the peaks are also hurtling towards them, not simply that they are there in the distance. I can't think of a better alternative off the top of my head, but something along the lines of "as did" (only that's too flabby) might be preferable.

Even knowing herself bodiless, she flinched instinctively at the expected collison.
- I think just "Instinctively, she flinched" (though I don't like the internal rhyme myself) is enough here, and allows us to do some of the work.

Instead, they ascended, spiralling upward.
- tautologous. Perhaps "Instead, they spiralled upward." (Though the "instead" would have to go if you deleted "the expected collision".)

All around her she scented pine and snow
- strictly, this reads as if she is somehow all around herself, scenting the pine etc.

Camhóinhann materialized, and she along with him. - I wonder if "materialised" is enough in the circumstances. Not knowing any of the background to his powers, I was brought out of the scene wondering if they had physically manifested themselves there, or whether when they had travelled she had "seen" their bodies in flight in any way. I know you explain it in a few lines, but perhaps if she feels greater confusion there before he starts lecturing her?

I'd better end there as I'm meant to be doing something else. I hope that's of some help. Overall, you certainly evoke the feeling of rushing flight and the cold and the sheer wonder of it. I don't know whether she should sound a little more afraid and disconcerted though, at least in her thoughts. Even when you mention she is hesitant, you write in the same smooth style that I don't get an impression of real fear or other emotion from her. (But of course, it may be I'm misinterpreting what you intend for her reaction.)


EDIT: Two things. First, sorry to repeat what others have said -- they weren't there when I started! Second, I know the names are immutable but "the highest peak in the Tarian" was too Keats-y for comfort (On First Looking into Chapman's Homer).
 
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Just one quick point, since The Judge has pre-empted some of my others: of the seven paragraphs between "Yet it took" and "lost in the whiteness", four begin with "and", "but", or "yet". I don't agree (of course) with what we were taught at school, i.e. never to start a sentence with these, but as paragraph beginnings, I think these should be used more sparingly; a succession of them makes me zone out slightly, though I can't quite pinpoint why. Maybe it feels like it's striving for grandeur. I found the same trouble with parts of the end of "The Return of the King". Might just be personal taste though.

Otherwise, I really liked it.
 
Aha, a bit of the book!

Tried to read reasonably critically, so as to make at least one useful comment, though was not really expecting to find anything. But in order to speed the production of a book I really want to read, am willing to try and thump tired brain into semblance of sharp intellect.

First impressions:
I wasn't really caught until "A range of hills came hurtling towards them..." - from that point on I was fully involved and really enjoyed it. The whole mountaintop scene was fantastic, very well described, I could feel my guts knotting (scared of heights! addicted to views! - one of those paradoxes that makes life interesting).

So - what is wrong with that first little bit? Its not much but there is something. Bear with me as I try to articulate my feelings on the matter.
1. Images of light and dark flooding Winloki's mind.
I put this down to a lack of context problem, which it in all likelihood is coming so early in the scene, but just as it stands without the aid of said context it doesn't really communicate anything effective to the reader. Everything else does, which is why I noticed it. And it doesn't seem to relate to the enlarging of perceptions directly following. So I agree with Mouse, it jars.

2. Geometries of relationship and distance
Great phrase this, but not sure if its in the right sentence. I do know what geometries means, or at least I think I do, and to me it doesn't quite fit with "enlarging of perceptions" or "images of light and dark". The latter is visual of course, the former encompasses visual but also other senses - this fits really well with the feel of the rest of the scene, which is quite visceral in its impressions - immense visual scope, physical struggle with the howling winds, not to mention physical freezing - the fear and wonder of it all coming across straight to the guts - but to me the phrase "geometries of relationship and distance" throws me out of the sensory and into the realm of the intellect (detachment, objectivity). The rest of the scene has little to do with the intellect, and the best parts of it certainly don't, so maybe it should be somewhere else where it can have more impact?

3. Very minor: the dusky landscape a dizzying panorama below
Dusky seems a bit flat to me. You've mentioned its evening, and shortly we get a line of ice-covered peaks glittering in the last light of sunset, which gave me a very clear image - but dusky in between them is a bit...vague? Ordinary? Doesn't place the quality of light well enough? Even darkening landscape might be better.

4. Knowing herself bodiless
I'm only mentioning this to let you know that even though it bothered Mouse it didn't bother me at all. ;)

If any of those incoherent ramblings help you pin down your dissatisfaction Teresa, then good! If not ignore of them of course. ;)

PS I mention Mouse so much because when I started writing this rather interrupted ramble she was the only one who had replied! Not the case anymore...
 
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So, um, I'm not exactly sure what I am asking for here. Just everyone go ahead and fulfill my unspoken wish, satisfy my as yet imperfectly realized desire. Is that too much to ask?

Alternatively, you can take your revenge for any critiques I've done on your work.

I find it a bit hard to drop into middle of your world, since I haven't read any of your work before. And especially in this scene, it's so hard for us to know what's what, when we don't have any information from the backstory.

So, could you be a kind lady, and provide us a wee bit of (hard) exposition, please?

PS. Fear not. We are not taking a revenge.

PPS. First read filled my mind with the thoughts of purple prose. So let's see if I can open this up by looking it more closely.

The lessons in magic continued. Under Camhóinhann’s tutelage, images of dark and light flooded Winloki’s mind. Under his guidance, her perceptions were wonderfully enlarged; she began to detect geometries of relationship and distance wherever she looked. Familiar shapes stood out in bright relief. The world became alive with meaning.

On one memorable evening he taught her how two minds linked (if they possessed sufficient power between them) might range freely over great distances.

She found herself rushing through the air, the dusky landscape a dizzying panorama below. Cities passed in the blink of an eye, vast stretches of field and marsh and woodland.

I think you are trying to teach the readers things about the astral projection, and as a reader I would want to see you slowing down the pace a little bit and explain how this takes a place. How she's suddenly in the metabody; flying over the land; seeing things that are invisible to the normal eye.


For a time they followed the course of a dull silver river unreeling like a skein of silk below them. She had already passed so far beyond any familiar landmarks it was impossible to guess the direction of their flight, whether they headed west, east, north, or south. A range of hills came hurtling toward them, and a line of ice-colored peaks glittering in the last light of sunset. Even knowing herself bodiless, she flinched instinctively at the expected collison.

Instead, they ascended, spiralling upward. Cliffs, wooded heights, ice-hung precipices flashed past and then were gone. All around her she scented pine and snow; then came a searing cold that had no scent at all. Abruptly they stopped, and Winloki scarcely had time to take note of her surroundings before Camhóinhann materialized, and she along with him.


If she's in a astral body, then how she's going to feel coldness? Is it all in her mind, or does the magic transfer the real physical sensations into the metabody?

Another point. Would she abruptly stop if she's been flying? Wouldn't the decent be smooth rather than a hard one?

Indeed, it felt to her as though it were blowing from some frozen region far beyond the moon. Yet though she felt chilled, she saw that their breath did not whiten the frigid air. But these aren’t -- they can’t be -- our real bodies?

No, he answered, we left those behind at Quiranöerion. These forms you see are made of more subtle stuff, and can only mimic what our real bodies feel.

But can they be harmed? Even with him beside her, she did not feel quite safe.

They are products of the mind, and through them the mind can be driven to madness or even death. Yet they are hardier than our real bodies, while they last. If we stay too long, they will begin to fade.

Some of the literary explains that if you move the real body, then you break up the link between the astral (metabody) and physical one, and doom the spirit to wander around the metaplane for ever.

So, the question here is: is he lying?

What I would really love to see here is him taking a pause, looking into the distance as if he's thinking, and then providing the answer as the way he sees it.

No, she said. Oh no. You have brought me here to teach me something. I wish to stay and learn.

Yet it took all her courage to say so.

The last line feels a bit out of the place. And I would liked to see it after the said tag. So, sorry for breaking up your prose.

The wind seemed to blow right through her, scattering her thoughts. She felt herself impaled by spears of starlight; the elements roared around her as a mighty chaos. What had appeared to be no more than a wisp of cloud overhead let down a blizzard of sleet and snow. Panic clutched at her throat.

I feel confused in this para, and the only way I think you could improve this is by zooming a bit out and using the omniscient POV, or by rewording the close third; as we go from scattering of thoughts to being impaled by the things which are hard to grasp, because we don't have any real world connection to them.

Do not resist them, he said. Fire, air, and water are fluid and mutable, therefore capable of being controlled. Draw them into you; only in that way will you begin to understand them.

I dare not, she answered. They are too powerful.

How does she know? Has she tried? Can you provide us a flashback? Or alternatively, if he knows can you reword his reply.

Let them possess me, she thought, that I might possess them.

And so she yielded herself to the power of the wind, and it came rushing in, blowing through the chambers of her heart, setting her blood on fire.

A wee bit too easy. Can you provide a little bit of conflict, and then his guidance, please? The elementary magic should be hard, not easy.





I'm sorry if my word hurt your soul. I didn't say them because I want hurt, but to provide you some of my thoughts. You're a better writer then me. Therefore, feel free to ignore anything I said. What do I know? Nothing.
 
I think the key to TP's comment, Mouse, may be that she was winding you up.... :rolleyes::eek::)




(Now back to clockwork with you! ;):))




* Realises that he has committed the ultimate sin: making puns in one of Teresa's threads. *
 
A quick thought: this did feel to me like a "time passes" scene, the sort of thing that would involve a training montage in a film. Not that it's meant to be read quickly or not taken in, but in different circumstances the point at which she realises that the magic should possess her could be longer, as ctg suggests. But I think that depends on the context.
 
quickly, then, before i have to hare off to work (job interview in morning, then a late shift? argh...).

she began to detect geometries of relationship and distance wherever she looked. Familiar shapes stood out in bright relief. The world became alive with meaning.
i like that. think fractals, mouse, and the patterns that repeat throughout nature.
On one memorable evening he taught her how two minds linked (if they possessed sufficient power between them) might range freely over great distances.
...how two powerful minds, linked, might range freely over great distances...
i wish i had enough time to do the rest of it as well; maybe later...
 
Sneak peek at volume three, that's awesome, TE. :D



It's hard to critique this, but I have to say that I'm not too sure on how I like the spirit walking here. It still seems fresh enough an idea, at least controlled spirit walking, but it reminds me just a little too much of Dewara and Nevare in Shaman's Crossing by Robin Hobb.


I myself am not too confused by what Mouse has said, "images of dark and light". Those two elements can have images of their own, but I can see how the average reader may be, and to use as vague a word as "geometries" when describing a landscape might overload a reader's visual process.



And on my own personal account, I wonder just what Camhoinhann is up to here.....;)
 
Thank you, everyone. You've given me a lot of helpful comments.

Many of the things mentioned would make tons more sense in context, I believe. But you've all confirmed that some of the sentences that were worrying me do indeed need further work. I'm not sure how many of the suggested fixes would apply, due to pesky stuff like context and continuity, but I'll think about them, and now I have a much better idea of which parts need my attention and which parts I've just been dithering over.

(And bless you, ctg, don't worry about hurting my feelings by telling me my writing is a little purple. I've been tinting it lavender for years. I don't write terse modern prose because I don't write terse modern stories, and in this scene I purposely tipped in a little more than usual of the purple paint.)
 
Obviously, with all the usual caveats x2 :-

Humble opinions abound:-

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OK, so for the first time I am posting something here for critique. I love this scene. In fact, it will probably appear on the cover of the book. However, I am not so sure that I love the way I have written it.

This excerpt is midway through Chapter Four, of Book Three, of a trilogy -- with the first two books already in print. So character development isn't an issue here, because they should be developed elsewhere by now or I'm in big trouble. Also, the names are absolutely set in stone, and changing the overall style is not exactly an option either.

So, um, I'm not exactly sure what I am asking for here. Just everyone go ahead and fulfill my unspoken wish, satisfy my as yet imperfectly realized desire. Is that too much to ask?

Alternatively, you can take your revenge for any critiques I've done on your work.


The lessons in magic continued. Under Camhóinhann’s tutelage, images of dark and light flooded Winloki’s mind. (I like the phrase but in what way does it differ from the norm - IE light and dark) Under his guidance, her perceptions were wonderfully enlarged; she began to detect (new depths in the) geometries of relationship and distance wherever she looked. (focused maybe) (again how does this differ - If this is by using the mind then vision shouldn't be required) Familiar shapes stood out in bright relief. The world became alive with new meaning.

On one memorable evening he taught her how two minds linked (if they possessed sufficient power between them) might range freely over great distances. (as others have said - I thought a comma before and after the 'linked' might work. Ursa's seems OK)

She found herself rushing through the air, (Would she retain a sense of feel in mind travel - If so then it would be a problem for other substances that the mind may want to pass through in the plot. It would be difficult to traverse to the other side of a door if she had to punch a hole in it first) the dusky landscape a dizzying panorama below. Cities passed in the blink of an eye, (again this would be difficult if wind could be felt at Mack III) vast stretches of field and marsh and woodland. For a time they followed the course of a dull silver river unreeling like a skein of silk below them. She had already passed so far beyond any familiar landmarks it was impossible to guess the direction of their flight, whether they headed west, east, north, or south. A range of hills came hurtling toward them, and a line of ice-colored peaks glittering in the last light of sunset. Even knowing herself bodiless, she flinched instinctively at the expected collison.

Instead, they ascended, spiralling upward. Cliffs, wooded heights, ice-hung precipices flashed past and then were gone. All around her she scented pine and snow; (This recap spoils the flow, does snow have an odour?) then came a searing cold that had no scent at all. Abruptly they stopped, and Winloki scarcely had time to take note of her surroundings before Camhóinhann materialized, and she along with him. (Maybe now she could smell the pines drifting upwards. Also there's something odd about her seeing Cam materialise - Presumably he was there at her side all the time. I also think it would be quite a shock to the system and would deserve at least a gasp of surprise.)
Maybe:-
Abruptly they stopped. She scarcely had time to register this before she realised they had materialised and now stood on the edge of the precipice she had only moments before, flew above.

They stood at the edge of a fearful precipice height (precipice is confusable with the ice hung ones above), looking down on a range of mountains far below: at spires, ridges, vertical slopes, sea-green glaciers, all tiny with distance. She dared not look behind, or to left or right, for fear there might be another sheer drop.

We stand on the highest peak of the Tarian Duillan: Penaedeir, the father of all mountains. His lips did not move as he spoke, and she realized that his voice was speaking inside her mind, a sensation she had never experienced before. Not even the great eagles fly so high.

The sky overhead had gone from dusky grey to deep purple. Winloki felt as though she might almost reach up and touch the lamps of the stars, or the planets strung out like jewels across the firmament. But the rock beneath her feet had been polished by the elements to a glassy surface like obsidian. Buffeted by a wind that beat around her like mighty wings she dared not move an inch for fear she would slip. I feel as though I might be swept from the mountaintop at any moment.

As so you would, if you were not here with me. We are in the realm of the greater elements, where even magicians and wizards venture at their peril. And this is no ordinary wind: we call it The Wind that Moves the Worlds.

Indeed, it felt to her as though it were blowing from some frozen region far beyond the moon. Yet though she felt chilled, she saw that their breath did not whiten the frigid air. But these aren’t -- they can’t be -- our real bodies?

No, he answered, we left those behind at Quiranöerion. These forms you see are made of more subtle stuff, and can only mimic what our real bodies feel.

But can they be harmed? Even with him beside her, she did not feel quite safe.

They are products of the mind, and through them the mind can be driven to madness or even death. Yet they are hardier than our real bodies, while they last. If we stay too long, they will begin to fade.

And then? Winloki looked at her hand, wondering if it was as solid as her real form now as it had been a moment past. In the ghostly light of the stars the snow shone blue; everything appeared insubstantial.

The link with the real body would break. But if you do not trust me to guide you home in time, we can return now. (Do you wish to go further or shall we return home)

No, she said. Oh no. You have brought me here to teach me something. I wish to stay and learn.

Yet it took all her courage to say so. The wind seemed to blow right through her, scattering her thoughts. She felt herself impaled by spears of starlight; the elements roared around her as a mighty chaos. What had appeared to be no more than a wisp of cloud overhead let down a blizzard of sleet and snow. For the first time she began to feel panic and fear clutched at her throat.

Do not resist them, he said. Fire, air, and water are fluid and mutable, therefore capable of being controlled. Draw them into you; only in that way will you begin to understand them.

I dare not, she answered. They are too powerful.

But not more powerful than the magician’s will. Through the drifts of falling snow and sleet, his eyes glowed like stars; the light of his face became almost unbearable. (seems a bit over the top)

She yearned to please him, to show herself worthy, that he might not be ashamed of their shared blood. And still she hesitated, afraid that if she did as he told her she might be utterly consumed.

But if she did not do this, she sensed that her education in magic ended here. All her life she had had the courage to resist; until this moment she had believed that was the whole of valor (odd phrase way of valour maybe)). Now she must learn to be brave in an entirely new way, and find the courage to submit control. Let them possess me, she thought, that I might possess them.

And so she yielded herself to the power of the wind elements, and it they came rushing in, blowing (raging) through the chambers of her heart, setting her blood on fire. Standing there on the roof of the world, she felt herself in the grip of natural energies too immense to be regulated by the clockwork of time. Ice crystals scoured her. For some immeasurable period of time they obscured her vision so completely, she might have been alone, lost in the whiteness.

Then his voice spoke to her again: Intelligence, energy, knowledge, and will, that is the whole of magic. Who controls these may work wonders.

As the magic quickened within her, a wild happiness leaped into being. Bathed in power, she experienced a primitive delight; the pleasure she felt was not of the mind only, but of every particle of her being. She knew herself, blood and bones, nerves and sinews, as part of a living universe. She felt herself capable of enormous thoughts (power).

Slowly, the wind abated. The snow no longer flamed; the fire(?) no longer froze her. She turned toward Camhóinhann, and saw that some of his radiance had faded. Yet an aura of glory still clung to him as he reached for her hand. Now it is time to return.

For the briefest moment she felt their pulses as one. And a picture came into her mind unexpectedly: a burning heart that blazed like the sun, imprisoned in an iron cage. She could have wept to see that great captive heart, had she any tears in that place to weep.

But now they were plummeting down, past the cliffs and pine trees, the towers and buttresses of stone. For a moment the hills reeled round and round beneath them, then they went hurtling past fields, cities, and farms, following the thread of the river home.

The names: They are long winded and in normal life at least when thinking of another person people tend to shorten them as I have above with the Cam. I appreciate there may be a reason you need the full name but surely she wouldn't use it to herself all the time.

Hope I helped

TEiN
 
Just a comment about the names she's used, TeiN-


This is a part of the third volume of her Runes of Unmaking series and in the first two volumes she didn't abbreviate the names once. It would cut into the style and make it awkward to do so now.
 
Normally, this kind of scene would seem to drag for me, especially since by the end I'm still not exactly sure what she learned or what she did.

What kept me involved was the depth of description. Things like "dull silver river unreeling like a skein of silk" and "rock beneath her feet had been polished by the elements to a glassy surface like obsidian" really draw me in and help me to picture the scenery. I say beautiful and bravo. So in the end the lesson on magic in the astral plane didn't bother me, and in fact became quite enjoyable.

I'll admit that "geometries of relationships" did throw me at first, although the wording seemed really cool, and I find that TEiN's suggestion of "new depths in" adds the clarity it feels like it needs.

The other thing that kept me involved, of course, is that I'm familiar with the characters. I mean ... this is Winloki and Camhóinhann. I'm grinning from ear to ear right now.

Thanks for the sneak peak!
 
First off, I'd like to say that you are such a better writer than I am that I can't really give any technical critiques. So, I'll tell you how I feel as a reader.

This scene is fun, and engages my imagination very well. However, there were a few things that just didn't feel right to me.

1. Under.
The lessons in magic continued. Under Camhóinhann’s tutelage, images of dark and light flooded Winloki’s mind. Under his guidance…

I am not against using the word under, this just felt overused. It prevented me from feeling the piece write off. However, your clever use of "geometries" pretty much fixed any damage done to my reader senses.

2.
On one memorable evening he taught her how two minds linked (if they possessed sufficient power between them) might range freely over great distances.

This just seemed clumsy to me, I'm not sure how you might fix it.

3.
As the magic quickened within her, a wild happiness leaped into being.

#3 Isn't really a problem, I just think it sounds better with leapt instead of "leaped." It's a personnel preference thing.

Other than those simple things, I loved it. Nicely done.
 
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